Philippe Petit — Architecture Critic
I usually have some shame when plugging major release motion pictures, but I loved this film. In fact, I think Philippe Petit’s tight rope walks on (between) the World Trade Center, Notre Dame, the Sydney Harbour Bridge, and the Superdome make him one of the most important spatial critics of the early 1970s. His tightrope walks critique the overwhelming mammoth and monstrous structures that architecture critics in the early 1970s also scrutinized. Honestly, I love the writing of Manfredo Tafuri (or Ada Louise Hutable), but Philippe Petit is just as good! Imagine giving your students Tafuri’s “Disenchanted Mountain: The Skyscraper and the City” and then sitting them down to watch Man on Wire.
Much of the critical thrust of Petit’s performances emerge from his Nietzschean (really Deleuzian) descriptions of the labor of the wire walker. In Man on Wire, Petit describes the experience of the tight rope as a negotiation of the geological aspects of the built environment. The rotations of the structure, the force of the wind, the expansion of stone and steel under the sun, are all moving through his body as he walks the rope. When I watched this film, I wondered if he had read Anti-Oedipus. After all, that book was all the rage in the early 1970s middle-class artistic circles that Petit would have circulated as a performer.
But Petit also offers us lessons as writers, critics, architectural perfomance artists. His absorption of geological and urban force is so novel, so different than any discussion of cities and buildings as dynamic objects, circulating today. He takes in this force of the built world in absolute stillness. I find it so much more interesting than those contemporary written or built projects that also see the city through this Nietzschean/Deleuzian system and merely regurgitate it in its own image of dynamism. For me, a more significant critique shows the human subject’s ability to process these “dynamic flows.”
Check out the film.